Midterm Elections Are Nov. 6. Treat Them Like a Performance: Show Up

The midterm elections are less than three weeks away on November 6. If you're registered to vote, hooray!

But you can't fully celebrate before you've completed your mission. Showing up at the polls is what matters most—especially since voter turnout for midterms doesn't have a fabulous track record. According to statistics from FairVote, about 40 percent of the population that is eligible to vote actually casts a ballot during midterm elections.

Many members of the dance community are making it clear that they want that percentage go up, and they're using social media to take a stand. Here's how they're getting involved:


Rachel Neville's #movethevote

On August 20, popular dance photographer Rachel Neville announced her #movethevote campaign. Since then, she's been steadily posting photographs of dancers clad in white, all wearing a bar of bold red lipstick across their face. Some of the images include political statistics or messages about what's at stake—big issues like women's rights, gun control and arts advocacy just to name a few.

Her subjects are well-known performers, like New York City Ballet's Ashley Bouder, Alvin Ailey American Dance Theater's Fana Tesfagiorgis and Neil Haskell, who's currently in Hamilton. Not only do they take arresting photographs, but they have robust social media followings, which will hopefully help boost voter turnout.

Dance for Democracy

Another dancer-driven campaign is Dance for Democracy, which released a video featuring choreography by a host of dancer-activists, including Debbie Allen, Kenny Ortega, Chloe Arnold and Wade Robson.

UPDATE 10/25: "Blue Wave," choreographed and directed by Andrew Winghart

Since posting this original story, another dance-heavy campaign has started gaining ground. Andrew Winghart has teamed up with Swing Left, a grassroots organization that aims to inspire more votes for Democratic candidates in swing districts. The video above, directed and choreographed by Winghart, features his signature brand of unison and canon moves en masse to make a powerful statement. It's set to a soundtrack of Sia's "Never Give Up" with voiceovers from volunteers explaining why your vote matters.

Broadway Cares/Equity Fights AIDS' #beltthevote

And if you're more of the song-and-dance type, Broadway Cares/Equity Fights AIDS is encouraging voter registration with its #betlthevote campaign. ("You vote, Glen Coco!") We don't care whether you sing or dance your way to the polls, as long as you get there. See you November 6!

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Brandt in Giselle. Rosalie O'Connor, Courtesy ABT

Skylar Brandt's Taste in Music Is as Delightful as Her Dancing

American Ballet Theatre soloist Skylar Brandt's dancing is clean, precise and streamlined. It's surprising, then, to learn that her taste in music is "all over the place," she says. (Even more surprising is that Brandt, who has an Instagram following of over 80k, is "in the dark ages" when it comes to her music, and was buying individual songs on iTunes up until a year ago, when her family intervened with an Apple Music plan.)

Though what she's listening to at any given time can vary dramatically, the through-line for Brandt is nostalgia: songs that take her back, whether to childhood, a favorite movie or a piece she's recently performed. Brandt told us about her eclectic taste, and made us a playlist that will keep you guessing:

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Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

NYCDA Is Redefining the Convention Scene Through Life-Changing Opportunities

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

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Courtesy The Joyce

Dance Magazine Chairman's Award Honoree: Linda Shelton

In an industry that has been clamoring for more female leadership, Linda Shelton, executive director of New York City's The Joyce Theater Foundation since 1993, has been setting an example for decades. As a former general manager of The Joffrey Ballet, U.S. tour manager for the Bolshoi Ballet, National Endowment for the Arts panelist, Dance/NYC board member and Benois de la Danse judge, as well as a current Dance/USA board member, Shelton has served as a global leader in dance. In her tenure at The Joyce, she has not only increased the venue's commissioned programming, but also started presenting beyond The Joyce's walls in locations such as Lincoln Center.

What brought you to The Joyce?

That was many years ago, but it's still the same today: It's a belief in and passion for the mission of the theater, which is to support dance in all of its forms and varieties—every kind of dance that you could imagine.

Diversity is so important in dance leadership today. How do you approach this at The Joyce?

Darren Walker said something interesting at a Dance/NYC Symposium, which was that The Joyce is a disruptor. It was nice to hear in that context, because we don't think of it as something new. We didn't have to change our mission statement to be more diverse. We've been doing this since day one.

Is drawing in new audiences and maintaining longtime supporters ever in conflict?

Of course. I call it the blessing and the curse of our mission. We do present more experimental companies that may attract a younger audience. But it's very tricky. You're not going to tell your long-term audience, "Don't come and see this because you're not going to like the music." We've had people walk out of the theater before, but it's a response. It's important to spark those conversations.

What experimenting have you done?

We've tried a "pay what you decide" ticket the past couple of seasons with some of our more adventurous programming. You would reserve your seat for a dollar and after seeing the show pay what you decide is right for you.

Do you have advice for other dance presenters?

Find opportunities to sit with colleagues from around the country. At Dance/USA there's a presenters' council where we come together and talk about what we're putting in our seasons and what we're passionate about. Maybe there are enough presenters to collaborate and make it possible to bring a company to New York or to do a tour around the country.

Also, remember what it's all about: making that connection between what's onstage and the audience. If we can do that, despite every visa issue and missed flight and injury and changed program and whatever else comes our way, then we should feel good about the job we're doing.

To purchase tickets to the Dance Magazine Awards or become a sponsor, visit dancemediafoundation.org.

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